film reviews, interviews, features | BRWC

Author: Trent Neely

  • My Day: Review

    My Day: Review

    My Day: Review.  By Trent Neely 

    This film follows Ally (Hannah Laresa Smith) a teenage runaway trying to survive on the streets of London. We follow her as she seeks shelter along with other young people making a living through various means including prostitution and selling drugs. Ally makes cash as a drug mule for dealers Carol (Sallyann Fellowes), her son Kevin (Karl Jackson) and her boyfriend Gary (Daniel O’Meara), who in turn work for brutal drug supplier Illyas (Gediminas Adomaitis). One day, Ally volunteers to deliver drugs to a customer not usually on her route, Chris (Jonas Cemm).

    The day starts out as normal, Ally talks with Frank (Mike Kinsey), a kind old man before delivering drugs to her usual customer across the street from Frank’s residence. Things take a turn however when Chris drugs and sexually assaults Ally. She is able to escape but is forced to leave the money for the drugs and the supply of drugs behind. Fearing blame and punishment from Illyas, Carol and Gary send him after Ally. The rest of the film follows Ally as she attempts to escape punishment from Illyas, who seeks retribution for his lost payment and product.

    At the heart of this film lies a meditation on survival and what the pursuit of survival can do to a person. In the beginning, Ally is shown to be weary of the constant hustle required to survive on the street, but still seems to at least partially enjoy the freedom and autonomy it offers. But, once the realities of the dangers of the criminal underworld and those that inhabit become clear to her, when she considers how far she would have to go to continue to survive in this world, and when she comes to the realization that those she thought of as friends are willing put their own sake before hers, Ally truly begins to experience fear and sadness over where life has taken her.

    As a result, her need for survival becomes less focused on getting by one day at a time, but instead on a much larger change and centered on getting out of this way of life alive. Smith portrays this arc brilliantly, playing Ally at first with a sense of confidence in her ability to get by. As the film progresses and Ally’s circumstances become more serious however, Smith plays a more withdrawn Ally, one who has grown tired of being forced to get by on her own.  Someone who begins to feel truly isolated when people she trusted begin to abandon her or use her for their own gain.

    This theme of survival extends  beyond the character of Ally. When we first meet Carol and Gary, they are shown to have an affinity for Ally. However, once their relationship with Illyas, and by extension their own survival and safety in this world becomes threatened, they show little hesitation in offering her to him as a means of reconciliation. This is not to say that they do not care for Ally. There is one scene where Carol tries to comfort Ally after she is attacked.

    The subtle yet emotionally charged delivery and expression of Fellowes allows the audience to infer that Carol hearself has endured hardship as a result of her surviving in this criminal landscape. It is this survival instinct that causes her and Gary to put Ally in harm’s way, not callousness. For his part, Kevin is one of the few characters who from the outset is portrayed as wanting to leave this life behind.

    This is difficult for him however due to his mother’s influence and Illya’s power over those in his employ. Speaking of Illya, in his character we get the ultimate embodiment of a character who does what is needed to survive. Illya’s willingness to use others, threaten punishment and even death is what allows him to survive and keep his position as a top authority in this underworld.

    Director Ibrahim Miiro and writer Shirley Day do a great job crafting a story that showcases real, flawed characters operating in a world that feels harsh and lived in with escalating stakes and tension. This is in no small part due to great cinematography by Martyna Knitter and George Burt, whose handheld and cool-colored cinematography grants the audience easy access into the headspace of characters constantly on the move, under stress, and fighting  a variety of enemies.

    However, the expansive nature of the world and the ensemble cast leads to a slight loss in cohesion of the narrative. While the film is undoubtedly Ally’s story, she becomes somewhat sidelined for a stretch of the film near the halfway mark. While Ally is still the driving force of the narrative, the shift in character focus may be slightly disorienting for some viewers.

    This film serves as a great offering for viewers looking for a grounded, gritty thriller, featuring layered characters and complex themes focused on the choices people make in harsh conditions.    

  • Matriochkas: Review

    Matriochkas: Review

    Matriochkas: Review. By Trent Neely.

    This short film from Belgium tells the story of Anna (Heloise Volle) a sixteen year old who is experiencing her sexual awakening. Anna lives with her mother Rebecca (Victoire Du Bois) with whom she shares a complicated relationship. Rebecca frequently has parties and a string of boyfriends that never stick around for a long time.

    Anna is shown to have a dislike for both of these aspects of her mother’s lifestyle. We follow Anna as she hangs out with friends and sleeps with various boys during a summer of youthful exuberance and rebellion. Things take a turn however when Anna learns that she is unexpectedly pregnant. The rest of the film centers on Anna’s deliberation on whether to keep or terminate her pregnancy and the various obstacles she encounters along the way.

    At the forefront of this film is a magnetic performance by Heloise Volle as Anna, fully encapsulating the multiple facets of this character. Volle seemingly effortlessly switches between playing a young woman enjoying the experiences and freedoms found during this new phase of life, and a young woman rapidly forced to mature and consider serious choices that will impact the rest of her life.

    The performance is complimented by some arresting images crafted by cinematographer Olivier Boonjing and director Berangere Mc Neese. They choose to have the camera frequently be close on Volle’s face. This allows the actor to demonstrate the complex deliberations and emotions, both positive and negative that Anna is navigating, purely through expressions instead of relying on a lot of dialogue or voiceover. 

    The chemistry between Heloise Volle and Victoire Du Bois is also very strong, adding a lot of depth and nuance to a mother-daughter relationship despite a 22 minute runtime. Rebecca is portrayed as a character who was not prepared to take on the role of a mother, but in spite of this has strived to do the best that she can as she seeks to provide her daughter with a similar sense of inner strength.

    For her part, Anna seems to care for her mother. But, in her mother, Anna sees a future she does not wish for herself. This tension between what her mother wants and what Anna herself thinks is best serves as a large source of conflict for her throughout the film. In addition, Guillaume Duhesme gives a layered performance as Rebecca’s boyfriend Nelson.

    Who, at the start of the film seems to just be a part of the ensemble and another source of tension for Anna and Rebecca. However as the film progresses, Nelson becomes something of an important figure in Anna’s life without pulling focus from Anna’s story.

    Another strong attribute of this film is the maturity with which it handles its subject matter. No character in the film, nor does the film itself seek to shame Anna for her choices and circumstances. Instead, the film seeks to help the audience understand the stress that a woman in that situation can be under, and how complex the realities of that situation really are. 

    If you want to see a film with nuanced performances, beautiful cinematography, and a script that tackles a complex subject with care and maturity, consider watching this film.     

  • We Are The Geordies: Review

    We Are The Geordies: Review

    By Trent Neely

    We are The Geordies, a new documentary film from James DeMarco and Zhara Zomorrodian follows the Newcastle United Football Club during the 2016-2017 season. After years of a relative lack of success, controversial decisions from upper management, and relegation from the Premier League to the second tier Championship League: this documentary follows fans of the team through the ups and downs of the season as the team seeks to gain promotion back to the Premier League, and perhaps even win a championship under beloved manager Rafael Benitez.

    At the heart of this film is a love letter to fandom and what fandom means to people. Over the years, many have questioned how sport fans can be so passionate about a team they usually have never played for. The interviewees featured here have varied backgrounds when it comes to their individual stories of becoming Newcastle fans. For some, it is a generational obsession, passed down from parent to child, leading to core moments in people’s upbringing. In some cases, kids are even named in tribute to important figures in the club’s history.

    For two interview subjects, the passion was formed as part of making friends in grade school and has served as a pillar of the friendship up until the present day. One person interviewed comes from a culture where an obsession for football is not as prevalent. Yet, when she is in that stadium that does not matter, she is simply one of the fans. This concept is displayed constantly throughout the film. We see fans on the day of matches as they get to set aside the pressures of life, illness, and work. Once there, they are able to be present for a moment in time and show their love for their team with thousands of other people as passionate as them.

    The crew on this film does much to help the audience connect with this fandom. Rarely do the interviews feel formal or staged. They serve to inform us about the passion of the fanbase, but one also gets the sense listening to the interviewees that they are grateful to have documented testimony of their love for their team to share with the world. Despite their varied backgrounds, the one common thread present in all the interviews is the shared never-ending hope that the team will succeed and that no matter what, their support will never waver.

    Interviewers talk with people in their homes as they share stories of the important games they both saw and missed, talk about photos and pieces of memorabilia and memories formed with friends and family at matches. We follow fans on train rides as they talk about all the logistical hoops they had to jump through just to go to one match. During matches themselves, cinematographers James Grieves and Esther Vardy along with DeMarco make the camera itself a presence in the stands.

    Yet the focus is rarely on the matches themselves but rather the fans. Close-ups of faces wrought with tension waiting to see if a game-winning goal is scored, shots of sullen yet still hopeful faces after a defeat, or sweeping shots of people jumping with joy at a victory. The editing by Nick Light  is also superb. Scenes of victory chants beginning in the stadium are followed by shots of fans still chanting in jubilation at the train station as fans begin their journeys back home, demonstrating that moments of joy will carry on long past the final whistle. By the end of the film, one can’t help but get caught up in the emotions and the moments shared by this team and its fanbase. 

    If you are looking for a film that demonstrates what being a fan means, how sports can bring together people of different backgrounds and serve as a bond and source of hope whether the team is winning or losing, consider watching this film.

  • Inverno (Timo’s Winter): Review

    Inverno (Timo’s Winter): Review

    Inverno (Timo’s Winter): Review. By Trent Neely.

    This short film directed and co-written by Giulio Mastromauro tells the story of a family of Funfair workers: Timo, his father, his mother, grandfather, and grandmother during the winter as they work to prepare to open the fair and cope with the mother’s severe illness.

    The film primarily focuses on young Timo as he is thrust into maturity and responsibility as he helps his family prepare the fair for opening, and though he may not know exactly what is going on with his mother, it is clear that he understands that it is something serious.

    The most striking element of this film is how much it allows itself to breathe given its sixteen minute runtime. Mastromauro and co-writer Andrea Brusa choose not to have the characters express their strife through protracted conversations or monologues. When characters speak in the film, it is rare, short and to the point, and almost never directly references the harshness of the realities that they are facing. Instead, the film mainly rests on the power of images and physical performance. Director of Photography Sandro Chessa uses a variety of framing techniques to show the audience this family’s story. Sometimes the camera is a distant observer, other times, almost uncomfortably close as we see the toll this moment in life is taking on these characters.

    All the while painting the film in an arresting, predominantly cold and desaturated palette. These long quiet visual moments are coupled with a minimalist yet beautifully melancholy score by Bruno Falanga, whose piano and strings softly help convey the emotions that the characters themselves rarely express outwardly. The small cast and sparse settings also serve to help show how much this family is carrying on its shoulders.

    While the cast is small, their impact is fully felt. Particularly Christian Petaroscia as the young Timo, who fully captures the essence of a child thrust into the hardest parts of adulthood and someone who mourns the loss of childhood innocence that comes as a consequence.

    The rest of the cast are also stellar, demonstrating the power of facial expressions and body language combined with framing in order to express complex emotions like fatigue, anger and sadness.

    If you would like to see a film that demonstrates the power of visual storytelling and how efficient a story can be while still retaining its full emotional weight, please seek out this short, affecting piece of work. 

  • Softie: Review

    Softie: Review


    Softie: Review. By Trent Neely.

    This new documentary from PBS follows Boniface “Softi” Mwangi, a Kenyan photojournalist turned political activist. Who, after years of watching everyday Kenyans suffer injustices on nearly every level, due to economic instability, civil unrest, and political corruption, decides to run for a seat in the Kenyan parliament. But for Mwangi, it is not enough to simply want to do the right thing in order to be elected. He faces economic barriers. While his opponent in the race has the support of other Kenyan officials, Mwangi relies mostly on small individual donations.

    There is distrust among a large portion of the citizenry of Mwangi. They seem doubtful that someone with a lack of political and economic capital like himself can even be elected, and even if he can, that he can avoid being corrupted by the dirty politics so prominent in the country. In addition, Mwangi and eventually even his family face intimidation and death threats. The film takes a look at how the current political climate of Kenya was created, what motivated Mwangi to run, the effect the campaign has on himself and his family, and asks the question of whether a political system can ever truly be changed.   

    Perhaps the film’s greatest strength is how it educates people who may not know the complexities and origins of the Kenyan political system and the corruption that is prominent in it. During the film, we see firsthand and also hear testimony on how the police force in Kenya is used as a tool to maintain control over and suppress the citizenry, harassing, beating and even murdering political dissenters. One of the most potent forces in Kenya is tribalism. The film demonstrates through testimony and archival footage that when Kenya was under English imperial rule, the English crafted biases and a pecking order of sorts for the tribes that continues to be embedded in modern Kenya, and has allowed wealthy, power-broking political dynasties to form.

    One side effect of this is that a lot of political candidates we see in the film are generational candidates who are descendants of tribes exalted by the British forces years ago. These candidates sometimes “buy” votes by giving small amounts of money to the impoverished citizenry while riding in luxury vehicles during campaign events. According to the testimony of Mwangi and others, there is a strong sentiment among a lot of the people that once elected,  these candidates do little to stop the violence and suffering of the average citizen.

    Instead, they seek to maintain power, money and control. Even when corrupt politicians are threatened with exposure or conviction, evidence seems to vanish and the cases fall apart.  It is these injustices among others that motivated  Mwangi to run despite his limited resources. As a result. We see that Mwangi is forced to take a grassroots approach, walking the streets and having conversations with people who are willing to engage with him. Mwangi for his part is largely undeterred by his status as an underdog, believing that what is important is that he fights for positive change in his country and to stand up for the average citizen.

    With regards to the filmmaking, director Sam Soko and his crew for the most part allow the subject matter to speak for itself. For instance, there are not long protracted voice-overs about clashes with police, instead we see a cameraman in the streets with Mwangi and other protestors as they try to avoid tear gas and physical confrontation with the police. Instead of an interview with Mwangi where he is asked how the people are reacting to his campaign, the crew follows him as he campaigns and talks with citizens and hears feedback from them himself, whether it is support, skepticism, or flat-out rejection.

    We even see the moment that Mwangi tells his wife Njeri that he plans to run for office, her shock plain to see.  Occasionally we do hear a probing question from the crew delivered to one of the subjects but it is always in pursuit of a deeper understanding of the subjects. One such time is when they ask Njeri how the campaign has affected her and the children, especially the death threats. This relatively observational and unobtrusive style allows the audience to not only be fully engrossed in the subject and at times forget they are watching a film,  but the relative lack of directorial intervention allows the subject matter to make the impact rather than the filmmaking, which gives the film a sense of authenticity.

    If you are looking for a documentary that offers some insight into another nation, a story of optimism and idealism in the face of corruption and cynicism, and an honest telling of a strive for change, watch this film if possible.